![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjadJX-xFgd1mi2NoQvZeLREQJATvLFnDa64E5Wuw0kekK0XwE-hGvoYfYBDL-Eshr_k3PAxYovK01wXJ-Q9HnVSKhTnsWWFgNj8A7SjQ45_emIXejvWsMV9uyNZvqtY2f8GimNjNkH_aE/s320/Secret-Origins-pencil.jpg)
The Secret Origins brief asked for Benny ( Bernice Summerfield) to have just leapt through a train window to find a nazi officer with prisoner. Usually I'd do some thumbnails first to send to Big Finish. I bypassed that and went straight to pencils. Concentrating too much on the train compartment and making things straightfowardly understandable made for a flat composition. neglecting the dynamism required. This was rejected ( rightly so) and I proceeded to thumbnails.
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp9SDjnZT0hQmUp4akKekXAtdtVSB1BwFxB8kHBB-mHqDwKUmqdEL92mDC_9K8vl-QOOnKvEt46fbCkTaej_6cpb6FRtd-4nGcwqe9tqk0ZXYWdxFz1teuLy6WRw8c7CYV6zvq04meXzE/s320/Secret-Origins-layouts.jpg)
We jettisoned including the prisoner in the image and opted for a direct showdown between the protagonists. The first layout was more a comic action panel than cover design - the directness of the second with the graphic symbol of the swastika immediately caught the eye.
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZoWCgvIEBwIBoJYsw5i_IOcfe34IJM3PG7VPGhaW2azk2EORfZgb_PJynDvdSqhJBJArOUuQSr3X56aSpqIP4qX_F1wMfby5ErJKUWxR3qp4lAHlta6M8beerXidfP93BZNAqtJ5B6k0/s320/Secret-Origins-pencil-2.jpg)
I put Benny's head pretty much on the vanishing point and tried to train all the perspective lines towards this .
The monochrome colour scheme with a hint of blue gives a pulpy timeless feel to the image and the red armband immediately catches the viewers eye.
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